复原的220窟杜洋摄

　　时隔70年，敦煌再度与故宫聚首——17日，“敦行故远：故宫敦煌特展”亮相午门展厅。这两个顶级博物馆将会碰撞出怎样的火花，颇令人期待。

　　展览分为“丝路重华”“万象人间”“保护传承”三个单元，展出来自丝绸之路甘肃段的文物及故宫博物院院藏文物共188件。展品还包括敦煌壁画临本35件，复制彩塑6身，高保真数字化壁画复制品70余幅，还有仿制佛塔等辅助展品20余件。

展览现场 杜洋 摄

　　一个看似不起眼的汉简中，就记录着汉代时，驿站用了十八担粟，相当于大约486斤的粮食，用来喂乌孙国使团的马，从数量来推测，此次乌孙使者团是十分庞大的，而这正是大历史没有记载，却实实在在，发生在丝绸之路上的某一个瞬间，正是无数的瞬间，集合成了波澜壮阔的历史。而类似的汉简展出了25件(套)。

　　一块小小的墨书“敦煌”简，上世纪80年代在敦煌汉长城的千秋燧采集，浓重的汉隶书体，见证了二千年的时光。

　　一尊北宋年间的木雕八臂观音残像，由杨木整体雕出。文物专家从残存手臂的情况分析应是八臂十一面观音像。在敦煌壁画中有许多八臂十一面观音像，但雕塑像稀少，这尊历经劫难幸存下来的残像显得尤为珍贵。

展览现场仿自第9窟壁画上的须弥座 杜洋 摄

　　作为莫高窟中唐彩塑菩萨的代表作之一，159窟的菩萨立像身体姿态呈轻微S形，衣裙华美精致，极具丝织物的质感。精美的服饰在某种程度上是世俗华衣美服的反映，展现了唐朝富丽繁盛的社会气象。

　　展览还采用展墙平面与展台空间相结合的布局，展墙上展现敦煌壁画的经典作品，而展台上的文物又与壁画内容相呼应，呈现出多维一体的效果。

展览现场 杜洋 摄

　　展墙上，观众可以北朝一直到元代的敦煌壁画中最为经典、最具代表性的画面，逐次展现给观众。如大众熟悉的“九色鹿”故事，佛教美术中最常见的“舍身饲虎”题材，以及各种经变图，这些壁画内容很多不仅是在中国美术史上标杆之作，成为经典传承的代表作品。

　　展台上，唐代的胡腾舞铜俑雕塑形象与唐诗中描绘的胡腾舞的场景极为相似，造型传神，再现了胡腾儿豪放飞动的舞姿，在它和一组陶人音乐俑的背后，正是220窟药师经变图中一群仙人们的乐舞及其乐队在吹拉弹唱。静默无声中，彷佛能听到穿越时空而来的天籁之声，仍余音袅袅……

展览现场展出的“敦煌”简 杜洋 摄

　　榆林窟第3窟的西方净土变壁画中的建筑界画则堪称敦煌壁画中的代表作，这样一批壁画填补了皇宫祠堂、寺观塔庙、衙署庭院、亭台园林等等，填补中国建筑艺术史研究的诸多空白，映射礼仪制度、宗教理念、审美意趣。

　　在这样隆重的展览中，记者还在现场看到几个不起眼的陶碗，碗内呈现或红或黄或石青色，这是当年古代画工们曾使用的调色碗。敦煌研究院艺术研究部研究馆员、展览策划娄婕表示，中国古代工匠将自身的生命情感和内心夙愿，倾注其中，既让器物合乎自然之道，又彰显出技艺的巧夺天工，在造物的艺术里看到天地之大美，也能看到万物之生机，感知到代代相继，生生不息的传承。“这些经过岁月沉淀而来的调色碗充满温度，能让观众近切感受到‘匠人精神’。”

展览现场 杜洋 摄

　　尤为值得一提的是，在午门西马道下临时展厅还同时展出敦煌莫高窟第285窟、第220窟和第320窟三个复制洞窟，按时代顺序分别是西魏、初唐和盛唐。

　　其中，285窟是敦煌石窟中最早有确切开凿年代的洞窟，220窟药师变中的两幅“对舞”及其乐队是研究乐舞的宝贵资料，320窟是盛唐的代表窟之一，窟顶藻井色彩浓艳厚重，保存犹新，北壁画的观无量寿经变图境界优雅，色调清淡，为盛唐同类经变题材之一风格。

　　展览期间，故宫博物院与敦煌研究院将在“数字故宫”“云游敦煌”小程序中推出特展专题栏目，通过官方网站、官方微博、官方微信、官方视频号等平台对此次展览进行多渠道多形式的传播。（应妮）

After a lapse of 70 years, Dunhuang reunited with the Forbidden City again after Du Yang's photo of the restored 220 Grottoes - on the 17th, "traveling so far: Dunhuang special exhibition of the Forbidden City" appeared in the Wumen exhibition hall. What kind of sparks the two top museums will collide with is quite expected. The exhibition is divided into three units: "valuing China on the Silk Road", "Vientiane world" and "protection and inheritance". A total of 188 cultural relics from the Gansu section of the Silk Road and the cultural relics collected by the National Palace Museum are displayed. The exhibits also include 35 copies of Dunhuang murals, 6 copies of color sculptures, more than 70 copies of high fidelity digital murals, and more than 20 auxiliary exhibits such as imitation pagodas. Du Yang photographed a seemingly insignificant Han bamboo slips at the exhibition site, which recorded that in the Han Dynasty, the post station used 18 catties of millet, equivalent to about 486 kilograms of grain, to feed the horses of the Wusun mission. From the quantity, it can be inferred that the Wusun mission is very large, which is not recorded in the great history, but it is true. At a moment on the Silk Road, it is countless moments, Set a magnificent history. Similar Han bamboo slips exhibited 25 pieces (sets). A small ink book "Dunhuang" Jane was collected in the Millennium flint of the great wall of the Han Dynasty in Dunhuang in the 1980s. The thick Hanli calligraphy witnessed the time of 2000 years. A remnant of eight arm Guanyin carved in wood during the Northern Song Dynasty is carved from poplar. According to the analysis of the remaining arms by cultural relics experts, it should be eight arms and eleven Guanyin statues. There are many eight armed and eleven sided Guanyin statues in Dunhuang murals, but there are few sculptures. This remnant statue that survived the disaster is particularly precious. As one of the representative works of the painted Bodhisattvas of the Mid Tang Dynasty in Mogao Grottoes, Du Yang's photo of xumizuo copied from the murals in cave 9 at the exhibition site. The Standing Statue of Bodhisattvas in cave 159 has a slight S-shaped body posture, gorgeous and exquisite clothes, and has the texture of silk fabric. To some extent, exquisite costumes are the reflection of secular Chinese clothes and beautiful clothes, showing the prosperous social atmosphere of the Tang Dynasty. The exhibition also adopts the layout of combining the plane of the exhibition wall with the space of the booth. The classic works of Dunhuang murals are displayed on the exhibition wall, and the cultural relics on the booth echo with the content of the murals, showing a multi-dimensional effect. On the wall photographed by Du Yang at the exhibition site, the audience can show the most classic and representative pictures of Dunhuang murals from the Northern Dynasty to the Yuan Dynasty to the audience one by one. Such as the familiar story of "nine colored deer", the most common theme of "sacrificing oneself to feed the tiger" in Buddhist art, and various Scripture changes. These murals have a lot of content. They are not only benchmark works in the history of Chinese art, but also representative works of classic inheritance. On the booth, the sculpture image of Hu Teng dance bronze figurines in the Tang Dynasty is very similar to the scene of Hu Teng dance depicted in Tang poetry. The shape is vivid and reproduces Hu tenger's bold and flying dance. Behind it and a group of pottery music figurines, it is the music and dance of a group of immortals and their bands in the Sutra change picture of cave 220 pharmacists. In the silence, it seems that the sounds of nature coming through time and space can still be heard... The architectural paintings in the murals of the Western Pure Land Transformation in cave 3 of Yulin Grottoes photographed by "Dunhuang" Jane duyang on display at the exhibition site can be regarded as the representative works of Dunhuang murals. Such murals fill in many gaps in the study of the history of Chinese architectural art, Mapping etiquette system, religious concept and aesthetic interest. In such a grand exhibition, the reporter also saw several humble ceramic bowls at the scene. The bowls were either red or yellow or stone cyan, which was the color mixing bowl used by ancient painters at that time. Lou Jie, research librarian and exhibition planner of the Art Research Department of Dunhuang Research Institute, said that ancient Chinese craftsmen poured their own life emotions and long cherished wishes into them, which not only made the artifacts conform to the way of nature, but also showed the superb craftsmanship of skills. In the art of creation, they can see the great beauty of heaven and earth, the vitality of all things, and feel the inheritance from generation to generation. "These color mixing bowls precipitated by years are full of temperature, which can make the audience feel the 'craftsman spirit' closely." Du Yang's photo at the exhibition site is particularly worth mentioning that the temporary exhibition hall under Xima road at the Meridian Gate also displays three replica caves of cave 285, cave 220 and cave 320 of Dunhuang Mogao Grottoes, which are the Western Wei Dynasty, the early Tang Dynasty and the prosperous Tang Dynasty in chronological order. Among them, cave 285 is the earliest cave in Dunhuang Grottoes with exact excavation age. The two "duet dance" and its band in cave 220 are valuable materials for the study of music and dance. Cave 320 is one of the representative caves of the prosperous Tang Dynasty. The caisson on the top of the cave is colorful and thick, and the preservation is still new. The view of immeasurable longevity Sutra in the northern murals is elegant and light, which is one of the themes of similar Sutra changes in the prosperous Tang Dynasty. During the exhibition, the Palace Museum and Dunhuang Research Institute will launch special exhibition columns in the "digital Palace Museum" and "traveling around Dunhuang" applet to spread the exhibition in multiple channels and forms through official websites, official microblogs, official wechat, official video numbers and other platforms. (Ying Ni)